Review: 'Flashdance' sputters but still entertains

If you can complete that sentence, then you're part of the coveted demographic that "Flashdance the Musical" is aiming for. It's been 30 years since the hit movie about a blue-collar girl named Alex with big dancing dreams turned baggy sweatshirts, fuzzy leg warmers, wild hair and welding into the coolest things on earth.

The producers of the new musical, visiting O.C.'s Segerstrom Center for the Arts through May 19 on its national pre-Broadway tour, are banking on fond "Flashdance" memories to motivate the movie's fans, now well into middle age, to give it a sweaty, nostalgic second embrace.

Judging by the full house on Wednesday, that strategy is working. What doesn't work so well is the musical itself.

The biggest problem with any show that presents long-dead popular culture non-ironically is the unintentional giggle factor. Screenwriter/director Lawrence Kasdan said he eliminated a large flashback section from "The Big Chill" because it was impossible to present the 1960s without making those years of excess look like a goofy parody.

Sergio Trujillo, "Flashdance's" talented director and choreographer, faces the same problem. The early '80s is not a chapter in pop-culture history that was destined to age well. From our vantage point, Alex's exuberant moves (not to mention her attempts at break dancing) can be titter-inducing. Trujillo and his creative team need to acknowledge such moments, allowing us to laugh a bit at '80s over-the-top-ness. It wouldn't detract from the story.

But that story needs to be told economically; it isn't "War and Peace." Writers Tom Hedley (who came up with the movie's concept and screenplay) and Robert Cary give us too much of it. Sure, it's great to flesh out Alex's boss and boyfriend, Nick, who in the movie spent most of his time staring like a love-struck golden retriever at Alex during her unhinged dance routines.

But now we have an additional major subplot: Nick is bravely trying to save the steel mill where Alex works, a battle that takes up too much time in this 21/2-hour show. It's nice to know Nick is a standup guy who's concerned about all of his employees, not just a thoughtless boss who chases after the prettier ones, and it gives Nick and Alex parallel stories about pursuing a dream, but this part of the plot needs trimming.

Other more successful changes include a bunch of new songs by Toronto-based composer Robbie Roth. They're nicely done, revealing character, advancing the plot and sounding uncannily like authentic 1980s anthems, ballads and rock tunes.

The performances are solid, for the most part. Matthew Hydzik brings the requisite rich-boy smooth handsomeness to Nick, and he owns a powerful and expressive tenor voice. Among the show's many talented supporting actresses are a couple of standouts: golden-throated Dequina Moore as Kiki, one of the dancers at the club where Alex works (Moore tears up "Manhunt"); and Kelly Felthous as Alex's best friend Gloria.

Alex must carry the show, and unfortunately Jillian Mueller isn't quite up to the task. Her singing voice is pinched and fairly small, and her dancing, while adequate, doesn't take our breath away the way Alex's moves should. Mueller needs to be more sharp, confident and energized.

Granted, Jennifer Beals had the benefit of doubles and spectacular film editing in the movie, which makes it impossible for any live performer to equal her kinesthetic tricks as Alex. But Mueller's stage presence and her moderate skills aren't equal to the gargantuan role.

Mueller is new to Alex; she has replaced Emily Padgett for the remainder of the tour. Perhaps she will grow into it, but in the meantime she compares unfavorably to a raft of supporting performers with dynamite singing, dancing and acting chops.

Visually, "Flashdance" is a knockout. Scenic designer Klara Zieglerova and projection designer Peter Nigrini take the relatively new technology of multiple projections to new heights. The stage is saturated with fast-moving images, some of them snippets of Reagan-era icons such as Madonna, others simply enlarged video versions of the performers. It's quite a light show.

This musical's problems aren't insurmountable. Hedley mentioned that changes will be made for the Broadway production. If they're the right ones, "Flashdance" could be a reliable crowd-pleaser, catering to those of us who still wistfully keep a pair of fuzzy leg warmers stashed in the bottom drawer.